Learn How To Sing With The Masque (Mask) Or Vocal Placement

Learning how to sing with the masque or the mask for vocal placement is a key to a great sound and strain-free singing.
Learn How To Sing Effortlessly:
Learn How To Sing Head Voice vs Falsetto:
Singing Lesson: “Inhalare La Voce” (inhaling the voice):

:31 Can you make a video about vocal placement or something that people said “singing mask”?

:44 instructors have their own favorite ways of describing vocal placement of the masque.

:57 The Structure of Singing by Richard Miller…System and Art in Vocal Technique. The terms that are used they said are: forward placement, into the masque,

1:56 Actually this is kind of is where the masque is.

2:16 Vocal placement. The masque. Masque. It’s actually m-a-s-q-u-e.

2:33 And I’ll tell you the truth the masque has not worked for me.

3:00 What I like even better to get this vocal placement, or masque singing, is to vibrate the sphenoidal sinus.

3:20 That’s the sphenoidal sinus area. So now I can feel what most people would describe as masque singing

3:35 I know my students respond to that kind of vibrations more than the masque. What makes any kind of masque technique or vocal placement difficult, there’s two things.

4:40 The bones, however around it, are what makes the placement or masque singing possible. Why singers have difficulty with vocal placement and the masque is because those are actually sympathetic resonances.

5:48 Sympathetic resonance. So that’s the key term. Please try to understand sympathetic resonance as an instructor or as a student of singing as you’re trying to learn about where to focus your voice.

6:11 Understanding sympathetic resonance is the key

6:24 And that produces those “boney” sounds that we call placement…masque singing. So whenever you’re talking about the masque, focusing the voice,…

6:48 So here we go again, please check out my other video on adduction. When you’re feeling vibrations wherever you want to be, whether it’s in your nose, the masque, the pharyngeal cavity, the sphenoidal sinus,

7:10 A sound that doesn’t have focus or vocal placement or in the masque, A very breathy tone because that’s a, not an adducted position. It will have no vibrations in the masque or in the sphenoidal sinus.

8:00 adducted my vocal folds.

8:05 if it works for you, hard palate, sphenoidal sinus, uh, masque, then go right ahead, use that.

8:30 You are adducting your vocal folds.

8:39 So that didn’t have much masque singing, not much vibrations. So if I, after I adduct the vocal folds…You raise me up so I can stand on mountains. That sound is adducted and of course, as you know from the other video, adducted vocal folds gets louder.

9:00 And it is also, yes, “Inhalare La Voce”. “Inhalare La Voce” is another way of finding vocal placement. “Inhalare La Voce” means to inhale the voice. Use inhalation muscles while you’re letting your body use the forced expiration muscles.

9:32 That was using “Inhalare La Voce”. You know that I like it because just one thought, “inhale while I’m singing” achieves a lot of good things, which in this case is vocal placement or singing in the masque.

9:46 If I inhaled the air…Raise me up, I get that placement. I get that buzz right up there. My place is the sphenoidal sinus. That works best for me.

10:00 So, how to achieve this? Well, an easy scale…there’s many different ways as you know of achieving placement.

10:32 In fact, humming is a good one for first locating your sphenoidal sinus.

10:51 Because the majority of sound does not come out through the nose, which is another thing that makes masque singing difficult and confusing.

12:07 What you should be is doing is feeling where your placement points will be.

12:56 For women, so what would not be placement would be: You, you, you, you, you.
What is place, what is placement: You, you, you, you, you.

13:30 That was also another way of how to reach the mixed voice again. And how to sing higher for guys and gals, that you again adduct the vocal folds and we’re using the “you” and placement to get to the adducted vocal folds.

It’s very simple. It’s adduction. That’s why vocal placement and the masque is difficult.
But if you can uh, just understand some basics about what’s really going on. It is really about the vocal fold closure and that’s easiest to do with understanding adduction.

30 thoughts on “Learn How To Sing With The Masque (Mask) Or Vocal Placement”

  1. oh my god thanks craig! this video really clear up everything. your ‘you’
    method works for me because i used to have problem with those ‘ng’ method
    because i start to sound nasal by trying singing in the mask. your detailed
    explanation really helps! you simply the best on youtube!

  2. I’m confused. so in order to “sing in the mask” all I’m really doing is
    adducting the vocal chords?
    and exactly what is adducting the vocal chords?

  3. Hello Craig. I’m a begginer in singing. Can you check my videos on my
    channel? In the first one you can hear how my voice was before 3 months ago
    and in the other video how my voice is now. I know I still can’t sing good
    but there is a change. I’m working on the mix and I would like to know, in
    my new video, is there a moment when I sing in the mixed voice? And when is
    it? Thank you and sorry for my english.

  4. Great video! Got a question for you.. Is the “kind and gentle voice” an
    adducted/masque sound or is it more on the breathy side?

  5. Hi Craig,

    I have been able to find good resonance in the masque area by doing a few
    exercises daily. The “Quack” like a duck, the “Meow” like a cat and the
    “good-day” (like an Aussie). Even a baby-cry like “waaah” is fantastic for
    getting that sound. Also, by adding a juvenile twang to all of them and
    going up and down the scales, I get a very good buzz sensation and very
    bright sound in the masque area.

    However, I have and issue with this. I can sing all my songs easily up to
    the top note and way beyond using this method but this is NOT the way I
    would like to hear the finished sound. It just sounds ridiculous having
    that extremely bright tone, even though it gives me amazing range. What I
    would like to hear is some more “chesty” tones to the higher notes, giving
    them a fuller and more balanced sound. I have tried to open the back of the
    throat at the same time, hoping the more darker toned operatic sound will
    mix with the ultra-bright soudn to balance it out, but to me it still
    doesn’t sound genuine.

    My question is, do you know of a method or exercise that will help
    introduce more “chestiness” whilse producing these bright-toned sounds as I
    go higher up in notes?

    Kind regards

  6. Patrick John Gabasa

    Hi craig,
    I am not a singer and i am trying to learn it. I have a question, “does
    adducting the vocal folds contradict the saying that you have to sing with
    a relaxed throat?” can you shed light on this please, maybe a video? I
    would really appreciate it. Thank you for your free lessons! God bless!

  7. Hey Craig, I’ve been focusing on getting my range to around a G4 or at
    least a healthy F. I’m working on my breathing and keeping the larynx low
    but after a D4 I sound winey and strained. I cant really tell if im singing
    in my mask but when I get past a D I feel my vibrations move into my face
    rather than chest. When I try to sing higher, attempting to sing in my
    mask, I end up in a falsetto place. If I try to push up my chest voice I
    get bad vocal fry. When I listen to classical singers they have no whiny
    quality to there voice. I dont want to be an opera singer but i cant help
    but feel im singing with a wrong technique. I can get power behind my notes
    but at F4 I always end up shouting. I haven’t got a vocal coach and there
    seems to be a lot of contradiction online, for instance, a lot of people
    say that if i keep working on having a smooth transition between my head
    and chest voice, it will get stronger and i will be able to belt, but
    others say that you have to pull your chest voice up to the higher notes.
    Are you able to help at all?

  8. Hi Craig!! your videos have helped me immensely while I’ve been trying to
    develop my voice, and this video in particular has helped me because I’ve
    had trouble trying to find my vocal placement. My question is do you feel
    resonance in different areas while going through the different registers of
    the voice? (from low to high) or is it all in the sphenoidal sinus? I’ve
    seen other videos were they say to not try and place resonance any lower
    than in the mouth (when going into lower notes) is that something you find
    to be true?

  9. Hi shimizu,
    THX for the video, I want to know how to let vocal chords adduct closer?
    cuz I can sing in mixed and I know where is the mask, but the mixed is
    still not as strong as my chest voice even it sounds Ok. So I am wondering
    maybe it’s the ability of the vocal chords’ addcution?

  10. once again great way of explaining the mask, one thing i will say that i do
    singing in the mask better, when i combine that with taking the tension in
    my arms away, it tends to flow better, but i know you know that, ade from
    the uk thanks Shimizu.

  11. Hi Craig, Could you explain what is the difference between registers and
    placements for me? For example, if you “place” your voice higher up, does
    this mean that you are using more of head voice? Thank you

  12. Ayda Tanguner

    Oooo I’ve realized sphenoidal sinus works the best for me too while
    figuring out mask placement. The voice opens up instantly and gains a
    fuller, buttery tone. Yet another a-ha moment for moi, thanks to you Craig.
    Much love & respect.

  13. Anne Gallagher

    You are a gifted teacher. Thank you for explaining the mysteries of a grand
    singing style.

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